By Chuks Nwanne

Nigerian musicians are charting their cause in a very good way being some of the best music makers across Africa. Music has brought hope for many families and has created employment for many practitioners in the industry. The outcome of the hard-work of people that made the industry what it is today has geared more young people to showcase their talent in various music competitions.

Indeed, the Nigerian music industry has exploded in recent times. The hyper activity on the scene has, no doubt, upstaged the days of yore when local TV and radio stations fed the public with foreign songs, especially from the United States. There was that period when for foreign songs, which most listeners barely understood the lyrics or even make any sense out of the beats, were in vogue; and everyone just played along.

Days are gone when at nightclubs, patrons could only dance to American beats from dusk till dawn without complaining. Those days when Shaba Ranks, Patra, Buster Rhymes, Chakademus & Pliers, 2Pac, Shaggy, Snoop… ruled the country’s music industry for long, and music consumers had no option than to love them. Yes, no option! Those days, it was like a taboo to play a Nigerian song or video on air. In fact, at the time, a radio station was so audacious as to decree that no Nigerian music, except Fela, would pop out of its air.

Today, things have changed. Nigerian songs are making waves all over the world, with the artistes winning international awards for their works. Even American superstars have seen enough reasons to collaborate with Nigerian stars, including signing them on their record labels.

From Africa to Europe and America, the world has caught the Nigerian music bug. For sure, the music is indeed paying. For practitioners and stakeholders, the struggle started long time ago; a time when musicians were regarded, as ‘never do wells.’ Remember the days when parents would almost disown their wards for daring to play music? Today, having a musician daughter or son has suddenly become a thing of pride.

Unlike the early days when children of the poor held sway, the industry today features children of the superrich, most of who abandoned their foreign degrees to pursue their passion –music.

Oil mogul and businessman Femi Otedola is a practical example. Even with all her foreign degrees, Otedola’s daughter, Ifeoluwa Otedola, is a professional DJ based in the United Kingdom today; she’s DJ Cuppy. That’s how far the industry has gone. Same can be said of Davido son of the billionaire tycoon, Adedeji Adeleke.

THE TRAILBLAZERS

Though there had been experiments in the past by music groups such as The Emphasis, the story of the present day Nigerian hip-hop music will not be complete without mentioning the duo of Okechukwu Azike and Pretty Okafor of the ‘Junior and Pretty’. Unlike their predecessor, who mostly tried to copy the Americans, Junior and Pretty in the late 80s, came out with their unique rap style, which is comic in nature and uses local pidgin English as language of delivery. They were famous with hit tracks such as Monica, Bolanle and other songs that eventually made it on air back then.

To a very large extent, they set the tone for the character of the industry today. Unfortunately, the death of Junior a few years ago, saw the end of that experiment, forcing Pretty, who is today the factional leader of Performing Musicians Association of Nigeria, PMAN, to abandon singing for music administration; and this took him off the limelight.

A SLUM…OF BEATS

Meanwhile, Ajegunle, a popular suburb in the present day Ajeromi Ifelodun Local Council of Lagos State, was a major breeding ground for raw talents in entertainment, with scouts and promoters constantly trooping into the ghetto in search of new breeds. By late 80s up till early 90s, the area had gained prominence as a major music hub, with the likes of Baba Fryo, Daddy Showkey, Daddy Fresh, Marvelous Benji, Nicco Gravity and the rest, who ruled the industry at the time. Though time seems to have changed, the impact and contributions of Ajegunle to the Nigerian music industry cannot be overemphasised.

THE HIT-MAKERS

There was also pop group, The Remedies, which held the Nigerian music scene by storm with hits like Shakomo, Shade and Jealousy. Signed to Kennis Music, it consisted of Tony Tetuila as the singer/dancer, Eedris Abdulkareem the rapper and Eddy Montana as the vocalist. Just when it looked like they had arrived, issues arising from ownership and royalties cropped up. Tony Tetuila was forced to leave and soon enough started a solo career; Eedris and Eddy followed suit.

Around that period, there was Plantashun Boiz, a hip-hop and R&B music group made up Tuface Idibia, Face and Blackface. Formed during their days at the Institute of Management & Technology (IMT), Enugu, the group was managed by Owoyemi Akinwale Nathaniel (Natz), Ifeanyi Oji (Odogwu), and Obasi Leonard (Baba Leo).

Produced by Nelson Brown, their first album, Body and Soul (The Beginning), which was released under Dove Entertainment, had tracks such as Don’t you know and If life. By 2003, they dropped their sophomore album Sold Out, featuring songs such as One‘n’Only, Let You Go’ and Situation. By 2004 when the group had gained prominence, the trio broke up and all the singers went on to work on their solo careers.

Though others, especially Face, made noticeable impacts as solo artistes, it was Tuface, who was signed on Kennis Music, that made instant success; African Queen was a massive hit. Till date, he remains one of the most successful artistes out of Nigeria.

However, credit must be given to DJ Jimmy Jatt; he propelled the industry and helped nurture talents. In fact, Tuface once disclosed that “Jimmy was the first person that ever paid Plantashun Boiz money… first person, way back; this is ‘98. Little wonder Jimmy Jatt became the first Nigerian Dj to put out an album. His 2007 debut album, Definition, remains the biggest collaborative musical album project in Nigeria with over 50 artistes. Tuface Idibia summed it up in Stylee, one of the tracks in the album featuring Tuface, Mode Ela Joe, where he gave credit to Jimmy for creating the platform for young music talents to showcase themselves: “I remember well the beginning of this struggle, when we used to hang around the block doing accapelas and just staying out of trouble. It seems like yesterday when we started the game hoping for some fame and some fortune. Now, what’s the gain without no pain. That explains all the hustle and the bustle, like when we enter bus, claim staff cuz we no get money. When we started, then we dey talk say, we dey mental. Back then na Jimmy Jatt na him dey give us instrumental. And up till now we still dey stay strong, dey hold on, the struggle still goes on. Up till now we still here. And we ain’t going nowhere… Heey!”

THE GRANDMASTERS

Back from the United Kingdom where they worked with JJC & 419 Squad, Michael Collins Ajere Enebeli (Don Jazzy) and Dapo Oyebanji (D’Banj) made impact in 2004 when they set up Mo Hits Record, with D’Banj as the first recording artiste on the label, while Don Jazzy was the CEO/President. The first album released by the label was D’banj’s No Long Thing in 2005, which was an instant hit.

The label went on to sign other artistes such as Wande Coal, Dr Sid, D’Prince and K-Switch. Other albums released by Mo’ Hits include Rundown and The Entertainer by D’Banj, Mushin2Mohits by Wande Coal and Turning Point by Dr Sid. It also released a compilation album called Mo’Hits All Stars along with many other singles from its artists, which have proved to be hits. With multiple awards to their credit, Mo’ Hits was talk of town for years, until they broke up.

Following the release of his Mr. Endowed Remix featuring American superstar, Snoop, Mo’ Hits attracted interest from foreign international acts such as Kanye West, who signed D’Banj and Don Jazzy to G.O.O.D Music, the record label and artiste management firm he founded in 2004. From that moment, the international community started taking note of the Nigerian music industry.

NAIJA BEATS RULES

Today, Naija music is being played all over the world; the impact is massive across Africa, where Nigerian stars are celebrated. But credit must be given to some corporate organisations such as the telecommunication companies and breweries, who played a major role in providing platform for music engagements between the artistes and their fans. Till date, Nigerian musicians still dominate continental awards. From MOBO Awards to MAMAs, KORA, AFRIMA… it has been all about the celebration of Nigerian beats and stars.

Just recently, internationally respected American R&B artiste R. Kelly just did a remix of Davido’s If, a track, which was on number one spot on many music shows. Besides, Wizkid got seven nominations for the Billboard Music Awards, having collaborated on songs with the likes of Grammy Award winning Drake and Kyla.

While Femi and Seun Kuti continue to spread the gospel of Afrobeat music across the world, Nigeria seems to have also carved a niche in the Gospel music scene. Till date, The Experience, which is the biggest gospel music concert in Africa, is staged yearly in Lagos, with both local and international gospel artistes on parade. That platform has also helped to deepen the relationship between foreign acts such as Donnie McClaukin and Don Moen.

MASTERS OF THE GLOBE

Indeed, Nigerian musicians are charting their cause in a very good way being some of the best music makers across Africa. Music has brought hope for many families and has created employment for many practitioners in the industry. The outcome of the hard-work of people that made the industry what it is today has geared more young people to showcase their talent in various music competitions. According to PwC report, which covers 2011 to 2015, the Nigerian music industry was worth $40 million in 2011 and $47 million in 2015. By 2020 this figure is expected to double to $86 million. 

PwC says the Nigerian music industry is benefiting significantly from mobile music revenue because of its “piracy-proof” nature.  “Nigeria’s total music revenue is dependent on ringtones and ringback tones, with the legitimate music sector being small otherwise,” say the report.